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Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOIiKS. A Rural Play in Four Acts, by Arthur 

Lewis Tubbs. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubbs. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discoxers who Harold is. he orders him to leave 
Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. 

THE OLD NE-W HAMPSHIRE HOME. A New 
England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
everybody understands and likes. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 

in Three Acts, by Frank Dumont. For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both starting 
and novel. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 

Five Acts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Carrying Out a Theory 

A Comedy in One Act 



By 
WILLARD SPENSER 




PHILADELPHIA 

THE PENN PUBLISHING COMPANY 

1921 



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Copyright 1921 by The Penn Publishing Companv 



Carrying Out a Theory 



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Carrying Out a Theory 



CHARACTERS 



Jack Blunt, A traveling salesman; full of new ideas 
Will Rust, A traveling salesman; with old theories 
Peter Welcome, Proprietor of the " Red Lion Inn " 

Ann, An up-to-date waitress 

George Washington Napoleon Bonaparte Smith, 
A round, jocund, jolly colored 
chef. Proud of his fame as a cook 



COSTUMES 



Blunt and Rust. — Every-day business suits. 

Peter Welcome. — Modern every-day suit. 

Ann. — Jaunty waitress suit — white apron and white 
cap. 

Chef. — Black trousers, long white apron, white 
coat, white chef cap. 



PROPERTIES 



Two plates; two knives; two forks; large carving 
knife; waiter; plate with prop, steak on it; covered 
dish on table ; bill of fare. 

Time. — Present. 



Carrying Out a Theory 



SCENE. — Side dining-room of the "Red Lion Inn." 
Two tables, both spread with white table-cloths ; two 
chairs at each table, in centre of stage against back 
drop. 

{Enter Blunt and Rust, l. u. e., each with a grip and 
newspaper in his hands.) 

Blunt {seating himself at r. side of table). You 
know they serve great " eats " here ! The colored chef 
is a wonder. 

Rust {taking seat opposite Blunt). So I've heard. 

{Enter Ann from r. u. e. with a smile for Blunt and 
Rust ; hands bill of fare to Blunt ; arranges table. ) 

Blunt {looking at bill of fare, then to Rust), How 
would you like a nice thick piece of rare porter-house 
steak, with French fried potatoes, and later a big piece 
of pumpkin pie with coffee ? — suit you ? 

Rust. To a " T." 

Blunt {to Ann). Did you grasp the order? 

Ann. Did you wish tea ? 

Blunt. No, fair antediluvian damsel, we are tee- 
totalers. 

(Ann flouts out of the room in a huff. ) 

Rust. You evidently didn't mean it, but you put 
that girl in a grouch all right. 

Blunt. I did mean it, to carry out my theory — that 

5 



6 CARRYING OUT A THEORY 

almost all households arc upset b}^ plain every-day 
grouch. 

Rust. But some establishments are so well regu- 
lated that your theory wouldn't work. 

Blunt {getting excited). I'll bet you twenty dol- 
lars that inside of twenty minutes I will upset this 
whole establishment, and they'll want to throw us into 
the street. 

Rust. You might do it if you'd smash all the china. 

Blunt. No, I'll only comment on the cooking. 

Rust. Now don't lose your good money — you just 
told me this place is famous for its cooking, and the 
chef is a wonder. 

Blunt. Yes, but I'm betting on a sure theory. 

Rust. Your theory is all wrong, and I wouldn't 
take any such easy lamb money. 

Blunt {taking a wallet from his pocket and laying 
two ten-dollar hills on the table). Cover it if you 
think it such easy money. 

Rust {taking a roll of bills from his left hip pocket, 
selecting two tens). Who will hold it? 

Blunt {raising a dish). Put it under this, and the 
winner to take all. {While they are doing this, Ann 
enters with their order, places it before Blunt, who 
looks at the steak. In a rasping discordant voice to 
Ann.) Take this back to the cook. 

Ann. What for? 

Blunt. Tell him it's rotten ! 

Ann {in a shrill, excited voice). Rotten! 

Blunt. Yes, rotten! 

Ann {looking the steak over). I don't see anything 
the matter with it. 

Blunt. Grab it quick or it will crawl off! (Ann 
grahs plate zvith steak and flouts out of the room mad 
as a hornet.) Score one for my grouch theory. 

Rust {puffing hand on plate that has the money 
under it, smiling). The easy lamb money is still here. 

Blunt. Wait ! I haven't played all my cards. 

{Enter Ann from r. u. e. who stands and points out 
Blunt to Chef, then exits. Chef goes up to Blunt 



CARRYING OUT A THEORY 7 

zvith plate and steak in his left hand, a big carving 
knife in his right.) 

Chef. Scuse me, sah! Am you de gent dat said 
dis steak was no good? (Points knife at Blunt, who 
falls hack with comedy shiver.) Am you de gent dat 
said dis steak was not fit to eat? {Points knife at 
Blunt; some business, only louder voice.) Am you 
de gent dat said dis — dis steak was rotten! 

{Stronger pointing of knife, with big shiver on 
Blunt's part.) 

Blunt {looking at steak). That's what I said, and 
I will add it's only fit to throw to the pigs ! 

Chef {rolling the whites of his eyes up to the ceil- 
ing). Oh, my stars! Hold me tight to dis yer spot! 
George Washington Napoleon Bonaparte Smith told 
he has served rotten meat to a guest, oiigh! {Holds 
point of knife up in the air with forward jerk. Blunt 
jumps back every time Chef does this. Comedy 
picture on each " ough " of the Chef with the knife. 
Enter Ann, r. u. e. ; stands a minute, sees trouble — 
screams and exits. Chef putting plate of meat on the 
table, controlling his temper.) What makes you 
think dis yer steak is not good ? 

Blunt. Smell it ! 

Chef {smelling steak). Permit me to say, sah, 
dat's de sweetest piece of meat dat was ever sarved 
in dis yer house. 

Blunt. Your smelling apparatus is out of order. 

Chef. You means to insinuate, sah, dat I don't 
know good meat when I smells it, sah? 

Blunt. Exactly. 

Chef {looking up to the ceiling). Oh, my stars, 
hold me tight to dis yer spot once more! (Chef look- 
ing at Rust.) Now the quicker you two gents " Fly 
de coop " and get out of dis yer establishment, de 
bettah ! 

Proprietor {enters from r. u e. hastily, followed 
fty Ann). What's the trouble, Chef ? 



8 CARRYING OUT A THEORY 

Chef. Dis guest yere {motioning to Blunt) says 
dat steak I sarved is rotten! {Motions to steak.) 

Prop. Is it? 

Chef. No, sah ! It's de sweetest piece of meat I 
ever sarved, sah ! 

Prof, {smelling steak). There is nothing the matter 
with that steak. 

Blunt. You'd better see a specialist ; your nose is 
out of order. 

Prop. My nose out of order? 

Blunt. Yes. 

Prop. You mean to say that that meat is not good ? 

{Pointing to it.) 

Blunt. Exactly. 

Prop, {raising his voice). Well, I'm going to put 
your nose out of order right now ! 

Chef {motions to Blunt). Let me attend to dis 
gent ! {Lays down knife; rolling up his shirt-sleeves.) 
You take de other gent. But look out for them, Boss. 
I'm sure they'se crazy — stark crazy! 

Blunt {grasping the chance to get out of their 
plight). Crazy! Lunatic asylum! Matawan ! Mat- 
awan ! Wah ! Wah ! Wah ! We're crazy all right. 
{Aside to Rust.) Act the part, it's the only way out. 

Rust {aside). I've got you. {Grabs the table-cloth 
off other table, wraps it around his body, dances around 
like a war dance.) Matawan! Matawan! Wah! 
Wah! Wah! 

Blunt {dancing after Rust, catches carving knife 
from table). Matawan! Matawan! Wah! Wah! 
Wah ! (Ann stands at side too frightened to move. 
Proprietor starts to sneak off r. u. e. Blunt heads 
him off.) Shall I take his heart, or his liver? 

{Same business with knife that Chef did to scare 
Blunt and Rust. Chef tries to sneak off l. u. e. 
Rust heads him off.) 

Rust {in a deep, shivering, sepulchral voice; point- 



CARRYING OUT A THEORY 9 

ing at the Chef). I'm the ghost of Hamlet! You! 
George Washington Napoleon Bonaparte Smith ! Your 
time has come! {Makes mesmeric passes at him.) 
Minion ! Down on your knees ! 

(Chef falls on his knees, clasping hands together, 
looking up to ceiling shivering.) 

Chef. Oh, Mr. Hamlet! Oh, Mr. Ghost! Dear 
Mr. Ghost ! Don't put a Hoo-doo on me ; Mr. Ghost, 
spare me! 

Rust. Don't move ! 

Chef. I'se froze to de spot, Mr. Ghost. 

(Ann has been too frightened before to move; now 
starts to sneak off r. u. e.) 

Prop, {to Ann). Quick! 'Phone to the lunatic 
asylum ! 

(Rust heads her off. Makes mesmeric passes to- 
wards her.) 

Rust. Don't move! {In a high, nasal voice.) This 
world is round wise men declare, and hangs on noth- 
ing in the air. {Deep voice.) Don't move! {Mak- 
ing passes at her.) Ha! now I've got you under my 
spell. Pose like Mercury. (Ann makes comedy at- 
tempt at a pose; at last stands on her right foot, leans 
forward, left foot out behind, right arm and hand 
pointing up in the air.) Hold it for your life ! 

(Ann keeps the pose. Proprietor again tries to sneak 
off. Blunt threatens him with the carving knife.) 

Blunt. You, the proprietor of this Red Lion Inn, 
cannot escape me ; bow to the guests I see coming in. 
{Motions to L. u. e. door.) Bow to them, bow! 
{Flourishes the carving knife.) Matawan! Matawan! 
Wah! Wah! Wah! 



10 CARRYING OUT A THEORY 

(Proprietor bows lozv as though wcJconimg guests, 
putting one hand over his back, extending other to 
guests. Keep this up until laugh is over.) 

Rust {coming in front of Prop,, makes passes at 
him). Now you are the Lion, of the Red Lion Inn. 
Down on all fours. Come over here! (Prop, faces 
footlights on all fours.) Sing for us! (Prop, lets 
out a roar, puts his hand to the side of his head, like 
a lion washing his face. Roars again.) That will do ! 
Get in your cage. {Motions behind chair. Prop, goes 
on all fours.) Don't move! (Chef starts to sneak 
off. Rust sees him.) Hold, villain! {Makes some 
wild mesmeric passes at him.) Stand on your head! 

Chef. Oh, my stars, Mr. Ghost, have a heart I 

Blunt {makes a move toward him with his knife). 
I'll have his heart. 

Rust. Up ! 

Chef. I'se gettin' up, Mr. Ghost, dear Mr. Ghost, 
I'se gettin' up ! 

{Tries to stand on his head, falls over, tries again; 
keeps it up as long as the audience laugh. At last 
balances on his head with legs spread apart like a 
pair of scissors. ) 

Rust. Come down! (Chef sits on stage.) Now 
I'm going to un-mesmerize you. 

{Makes wild passes over him.) 

Chef. Thank de Lord, Mr. Hamlet. {Shakes 
himself.) Now I feel like a morning-glory. 

Blunt {laying knife on table. To Proprietor). 
I apologize to you, sir ! We are not lunatics. {Hands 
his card. Ann, interested, drops out of Mercury pose 
and listens.) I represent the firm of "Brown, John- 
son & Co. of New York," and my friend here repre- 
sents " Wainwright, Hodges & Co., of Boston." 

Chef. And you two gents didn't escape from 
Matawan? 



CARRYING OUT A THEORY II 

Blunt. Never saw the place. 

Chef {to Rust). And you'se no relation to Mr. 
Hamlet? 

Rust {laughing). Nor his ghost. 

Blunt {to Prop.). This was a bet to carry out a 
theory that inside of twenty minutes I could so upset 
the serenity of this house you would want to throw us 
in the street. 

Chef. We shu did. 

Prop, {laughing). Well, "all's well that ends 
well."— Shake ! 

(Proprietor and Blunt shake hands.) 

Blunt {turning to Chef). And you, George Wash- 
ington Napoleon Bonaparte Smith, one of the best 
cooks in the country, shake ! 

Chef {holding hack his hand). Am you pufictly 
sure der is nuffen de matter with dis yur steak? 

{Pointing to it.) 

Blunt {laughing). It's the best piece of steak I 
ever saw. 

Chef. Den, George Washington Napoleon Bona- 
parte Smith will shake hands with you. {They shake.) 

Blunt {to Rust). You'll own my theory is right; 
— a man with a grouch can upset the best regulated 
establishment in the world. 

Rust. You've won the bet all right. 

{Takes hills from under plate. Hands them to 
Blunt.) 

Blunt {turning to Ann). Lady! Get the biggest 
red feather you can find to put in your black velvet 
hat. {Hands her one of the ten dollar bills.) 

Ann {looking at bill). Ten! {Aside.) I'll bet 
it's stage money. {With a curtsy to BLv:^r. Aloud.) 
" Thank you sir she said." 

Blunt {handing bill to Chef). Could you warm 
that steak for us ? 



12 CARRYING OUT A THEORY 

Chef {looking at bill). Ten! My stars, it's 
raining money. Wait just one little minute, gentle- 
men, and I'll have dat steak sizzlin' hot. 

(Chef picks up the dish zvith steak, faces audience.) 

Positions for Curtain. 

Chef. 

Proprietor, Ann. Table. Blunt, Rust. 

R, L. 

Centre. 

Footlights. 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

GRADUATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley, For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes; 
may be presented in a hall without scenery. The unusual com- 
bination of a real "entertainment," including music, recitations, 
etc., with an interesting love story. The graduation exercises 
include short speeches, recitations, songs, funny interruptions,' 
and a comical speech by a country school trustee. 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight mals 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in- 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quigley Higginbotham, known as "Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He retttrns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
(^scenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con^ 
vention. The climax comes when a woman's rights cham- 
pion, captures the convention. There is a great chance to bur- 
lesque modern politics and to work in local gags. Every 
part will make a hit. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain" 
ment in the village church g'ves plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. 

THE PENN PUBUSHING COMPANY 

PHILADELPHIA 



Unusually Good Entertainments 



Read One jr More of These Before Deciding on 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY'S. An En- 
tertainment in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, "Graduation Day at Wood Hill 
School," "Back to the Country Store," etc. The villagers have 
planned a birthday surprise party for Mary Brinkley, recently 
graduated from college. They all join in jolly games, songs, 
conundrums, etc., and Mary becomes engaged, which surprises 
the surprisers. The entertainment is a sure success. 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages two men to run the 
machine. A Jew, a farmer, a fat lady and other humorous 
characters give them all kinds of trouble This is a regular gat- 
ling-gun stream of rollicking repartee. 

THE CASE OF SMYTHE VS. SMITH. An Original 
Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
»ny number of good parts. 

THE OLD MAIDS' ASSOCIATION. A Farcical Enter- 
tainment in One Act, by Louise Latham Wilson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty or 
more. Time, forty minutes. The play requires neither scenery 
'I nor properties, and very little in the way of costumes. Can 
easily be prepared in one or two rehearsals. 

* BARGAIN DAY AT BLOOMSTEIN'S. A Farcical 

Entertainment in One Act, by Edward Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-firt 
fun from start to finish. 

THE PENN PUBLISHING COMPANY 

PHIM^BLPHU 



Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOR DEVINE. A Farce in Two Acts, 
by Mrs. E. J. H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. 

SISTER MASOTdS. A Burlesque in One Act, by Frank 
DuMONT. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets of a 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. 

A COMMANDING POSITION. A Farcical Enter- 
tainment, by Amelia San ford. For seven female char- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired living with her aunt, Miss 
Skinflint. She decides to "attain a commanding position," 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern, 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend, 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 

by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter= 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. 

THE PENN PUBUSHING COMPANY 

PHILADELPHIA 



The Power of Expression 

Expression and efficiency go hand in hand. 

The power of clear and forceful expression brings conn 
lence and poise at all times— in private gatherings, in publi<; 
discussion, in society^ in business. 

it is an invaluable asset to any man or woman. It can often 
be turned into money, but it is always a real joy. 

In learning to express thought, we learn to command 
thought itself, and thought is power. You can have thii 
power if you will. 

Whoever has the power of clear expression is always sur* 
of himself. 

The power of expression leads to: 

The ability to think "on your feet" 

Successful public speaking 

Effective recitals 

The mastery over other minds 

Social prominence 

Business success 

Efficiency in any undertaking 

Are these things worth while? 

They are all successfully taught at The National School of 
Elocution and Oratory, which during many years has de- 
veloped this power in hundreds of men and women. 

A catalogue giving full information as to how any of these 
accomplishments may be attained will be sent free on request 

THE NATIONAL SCHOOL OF 
ELOCUTION AND ORATORY 

17 14 De Lancey Street Philadelpbit 



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